Contacts

Biography

Appointed Cultural Ambassadors to the European Union in March 2012, Spira mirabilis’ previous seasons included performances at Musikfest Bremen, London’s Southbank Centre, Essen Philharmonie, Aldeburgh Festival and at Cité de la Musique and Salle Pleyel.

In 2014/15 Spira returns to Aldeburgh for the world premiere of Colin Matthews’ Spiralling and undertakes tours in Italy, Germany and Switzerland. In Formigine, Spira mirabilis continues to expand its activities, including studying baroque repertoire and developing educational projects through masterclasses and workshops.

Spira mirabilis is made up of elite young professional musicians from around the world active in many of the best European orchestras.

Appointed Cultural Ambassadors to the European Union in March 2012, Spira mirabilis’ previous seasons included performances at Musikfest Bremen, London’s Southbank Centre, Essen Philharmonie, Aldeburgh Festival and at Cité de la Musique and Salle Pleyel.

In 2014/15 Spira returns to Aldeburgh for the world premiere of Colin Matthews’ Spiralling and undertakes tours in Italy, Germany and Switzerland. In Formigine, Spira mirabilis continues to expand its activities, including studying baroque repertoire and developing educational projects through masterclasses and workshops.

Spira mirabilis is made up of elite young professional musicians from around the world active in many of the best European orchestras. Working without a conductor and in the spirit of an enlarged chamber group, they immerse themselves in the score with the aim of reaching an interpretative consensus on a shared vision allied to a complete synthesis with the work.

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Reviews

“During the final movement of the Sixth, when the shepherd's song disappears, leaving just a trace of itself in the lilting pizzicato, I realised that what holds this ensemble together isn't eye contact or collective breathing, isn't even the placing of an up-beat from this or that player. It's joy.” (The Independent on Sunday, June 2012)

"Their performance of the Pastoral Symphony was one of the most glorious Beethoven interpretations I have ever heard…. words don’t encompass the magic velvet shimmer of the murmuring lower strings in the second movement, nor the rumbustious peasant swing in the third, nor the thunderous thwack of the Storm, nor the vivid character of the wind solos.” (The Times,

“During the final movement of the Sixth, when the shepherd's song disappears, leaving just a trace of itself in the lilting pizzicato, I realised that what holds this ensemble together isn't eye contact or collective breathing, isn't even the placing of an up-beat from this or that player. It's joy.” (The Independent on Sunday, June 2012)

"Their performance of the Pastoral Symphony was one of the most glorious Beethoven interpretations I have ever heard…. words don’t encompass the magic velvet shimmer of the murmuring lower strings in the second movement, nor the rumbustious peasant swing in the third, nor the thunderous thwack of the Storm, nor the vivid character of the wind solos.” (The Times, May 2012)

“an exhilarating performance of Beethoven’s Fourth Symphony by Spira Mirabilis…Such rapport, flexibility, vivacity and virtuosity! It showed what’s possible in a musical world where idealism and flair have yet to be diluted by compromise and routine.” (The Times, June 2011)

“I have seen the future of orchestral music. And boy, is it good…. Hearing them play Beethoven was like seeing an image through a telescope come magically into focus. Their example should be followed everywhere.” (The Guardian, June 2011)

“The London debut of Spira mirabilis was uniquely thrilling. Had you closed your eyes, theirs was a period-inflected, super-caffeinated Eroica of the sort Giovanni Antonini might conduct. Eyes open, it was a live-action analysis of Beethoven's score, leadership passing from first violinist Lorenza Borrani to cellist Luise Buchberger, flautist Anne Parisot and viola player Simone Jandl as each idea was introduced and developed, with outstanding warmth and delicacy in the supporting textures. Played with such joy and daring, this was an Eroica to make any purist blink.” (The Independent, November 2010)

"It was thrilling to hear top players from orchestras throughout Europe freed to take responsibility and to create music from the inside. The funeral March movement was as moving, in its austere heart and its moments of ravishing beauty, as I have ever heard it. And the pinpoint precision of the strings in the Scherzo caught the breath. The audience leapt to its feet in a spontaneous ovation." (The Guardian, November 2010)

"This facination directly moves the audience and makes Spira the exemplary pioneer of a modern mediation of classical music to a new generation." (Welt am Sonntag, October 2010)

"The whole orchestra turns to a natural, resonant body which breathes, moves and shows much soul and heart. It definitively leaves nobody cold... It lasted just half an hour. But what the small orchestra took out of the score, provided hapiness for the ears for days.” (Hamburger Abendblatt, October 2010)

“Never before has one heard Brahms played with such a crisp freshness" (Weser-Kurier, September 2010)